This can take a heavy toll on progress, especially when making subtle tweaks to processor-intensive effects. It’s able to reuse the same proxy files when trimming or reordering clips, but applying or adjusting effects and overlaying text or graphics requires the proxy file for that section to be rebuilt from scratch. It’s also important to note that Pinnacle’s system develops proxy files for the timeline, not the raw footage. This process took about twice as long to generate as the footage length. These problems disappeared once the software’s Playback Optimisation function kicked in, responsible for generating lower-resolution proxies of the timeline’s contents. New and enhanced features and tools, and better hardware support, are just a few reasons to upgrade to our best version yet. Preview performance on our Core i7-870 PC was unacceptably poor, however, with lots of dropped frames and long waits when navigating the timeline. We imported 4K footage from a Panasonic Lumix GH4 and GoPro Hero 3 Black Edition, and the software had no problem dropping them onto the timeline. Other consumer editors claim to provide film-look effects, but the quality available here is in another league.Ī key new feature of Studio 17 Ultimate is support for 4K video. The highlight is the Red Giant Filmmaker Toolkit, a suite of three effects that deliver sophisticated colour-grading treatments. Instead, Studio 17 Ultimate includes some of the best effects of any consumer editor. The effects and template libraries are no longer littered with chargeable extra content.
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